{"id":7415,"date":"2013-07-17T11:15:03","date_gmt":"2013-07-17T09:15:03","guid":{"rendered":"http:\/\/www.tomajazz.com\/web\/?p=7415"},"modified":"2016-11-13T19:34:53","modified_gmt":"2016-11-13T18:34:53","slug":"dean-brown-unfinished-business-moosicus-2012","status":"publish","type":"post","link":"https:\/\/tomajazz.com\/web\/dean-brown-unfinished-business-moosicus-2012\/","title":{"rendered":"Dean Brown <i>Unfinished Business<\/i> (Moosicus, 2012)"},"content":{"rendered":"<p style=\"text-align: justify;\"><a href=\"http:\/\/www.tomajazz.com\/web\/?attachment_id=7416\" rel=\"attachment wp-att-7416\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft  wp-image-7416\" alt=\"Dean Brown - Unfinished Business\" src=\"http:\/\/www.tomajazz.com\/web\/wp-content\/uploads\/2013\/07\/Dean-Brown-Unfinished-Business-300x300.jpg\" width=\"200\" height=\"200\" title=\"\" srcset=\"https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2013\/07\/Dean-Brown-Unfinished-Business-300x300.jpg 300w, https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2013\/07\/Dean-Brown-Unfinished-Business-150x150.jpg 150w, https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2013\/07\/Dean-Brown-Unfinished-Business-55x55.jpg 55w, https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2013\/07\/Dean-Brown-Unfinished-Business.jpg 360w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\" \/><\/a>El \u00faltimo disco de <b>Dean Brown<\/b> es todo un vendaval. En esta ocasi\u00f3n parte de una formaci\u00f3n b\u00e1sica de cuarteto con piano, bajo el\u00e9ctrico y bater\u00eda, que aumenta ocasionalmente; se electrifica con gusto pero a conciencia; y utiliza su buen hacer <i>bluesero <\/i>para definir un excelente trabajo de m\u00e1s de setenta minutos de duraci\u00f3n.<\/p>\n<p style=\"text-align: justify;\">El pianista <b>Gerry Etkins<\/b> y el bater\u00eda <b>Marvin \u201cSmitty\u201d Smith<\/b> secundan a <b>Brown<\/b> junto a un <i>all-star<\/i> de bajistas (<b>Jimmy Earl<\/b>, <b>Schuyler Deale<\/b>, <b>Hadrien Feraud<\/b>, <b>Rene Camacho<\/b>). Aunque la lista de m\u00fasicos es larga y variada, la mencionada formaci\u00f3n de cuarteto es central a toda la grabaci\u00f3n, definiendo un sonido com\u00fan a una colecci\u00f3n de temas estil\u00edsticamente variados. As\u00ed, en \u201cJust Do It!\u201d el guitarrista se acerca al <i>boogaloo<\/i>, en \u201cTwo Numbers\u201d a la <i>bossa nova<\/i> de apariencia sosegada (volver\u00e1 a evocar Brasil en \u201cSanto para mim\u201d), en \u201cHail To The King\u201d al <i>smooth jazz <\/i>(con solo de <b>Kirk Whalum<\/b> inclu\u00eddo) y en \u201cWhole Tone Blues\u201d al <i>swing<\/i>. Eso s\u00ed, siempre con el <i>blues <\/i>de fondo, en sonoridad y en fraseo. No obstante merece especial atenci\u00f3n \u201cUncle Ray\u201d, original de <b>\u201cSmitty\u201d Smith<\/b> que abre el CD. Es una composici\u00f3n superlativa, casi sinf\u00f3nica, llena de fuerza y magistralmente interpretada.<\/p>\n<p style=\"text-align: justify;\">Durante toda la grabaci\u00f3n <b>Brown<\/b> enarbola los galones de mando, conduciendo al grupo mediante su voz guitarr\u00edstica. A veces se muestra como un <i>guitar hero<\/i> de los ochenta, pero sin afectaciones melanc\u00f3licas. M\u00e1s a\u00fan, parte del \u00e9xito radica en su buen hacer disponiendo elementos del pasado para ser degustados con deleite en el presente.<\/p>\n<p align=\"right\">\u00a9 <a href=\"http:\/\/www.arturomora.com\/\" target=\"_blank\" rel=\"noopener\">Arturo Mora Rioja<\/a>, 2013<\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: justify;\">Dean Brown: <i>Unfinished Business<\/i> (Moosicus, 2012)<\/p>\n<p style=\"text-align: justify;\">\u201cUncle Ray\u201d (Marvin \u201cSmitty\u201d Smith), \u201cJust Do It!\u201d, \u201cTwo Numbers\u201d, \u201cRecon\u201d, \u201cShow Me\u201d (Marvin \u201cSmitty\u201d Smith), \u201cSanto para mim (santa para mi)\u201d, \u201cHeadless Horseman\u201d, \u201cHail To The King\u201d, \u201cWhole Tone Blues\u201d<\/p>\n<p style=\"text-align: justify;\">Todos los temas escritos por Dean Brown, excepto donde se indica.<\/p>\n<p style=\"text-align: justify;\">Dean Brown (guitarras el\u00e9ctricas y ac\u00fasticas), Lee Thornburg (trompeta y trombones de v\u00e1lvulas), Doug Webb, Kirk Whalum (saxo tenor), Gerry Etkins (piano, piano el\u00e9ctrico), Bobby Sparks (\u00f3rgano <i>Hammond B3<\/i>), Bernard Maseli (vibr\u00e1fono y controlador de mazas KAT), Jimmy Earl, Schuyler Deale, Hadrien Feraud (bajo el\u00e9ctrico), Rene Camacho (contrabajo el\u00e9ctrico), Marvin \u201cSmitty\u201d Smith, Dennis Chambers (bater\u00eda) y Joey De Leon (percusi\u00f3n).<\/p>\n<p style=\"text-align: justify;\">Grabado en Musicians Institute Studio A (Hollywood, California), entre 2010 y 2011.<\/p>\n<p style=\"text-align: justify;\">Moosicus 1204-2<\/p>\n<p style=\"text-align: justify;\">\n","protected":false},"excerpt":{"rendered":"<p>El \u00faltimo disco de Dean Brown es todo un vendaval. En esta ocasi\u00f3n parte de una formaci\u00f3n b\u00e1sica de cuarteto con piano, bajo el\u00e9ctrico y bater\u00eda, que aumenta ocasionalmente; se electrifica con gusto pero a conciencia; y utiliza su buen hacer bluesero para definir un excelente trabajo de m\u00e1s de<span class=\"more-link\"><a href=\"https:\/\/tomajazz.com\/web\/dean-brown-unfinished-business-moosicus-2012\/\">Contin\u00faa leyendo<\/a><\/span><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":true,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[17861,5,1038],"tags":[260,6959,761,12651,247,760,6956,6958,12696,6852,13,12415,15295,6960,6964,6957,6963,5645,6962,6961,16099,77,16100],"class_list":["entry","author-pachi","post-7415","post","type-post","status-publish","format-standard","category-arturo-mora-rioja","category-grabaciones","category-contenidos","tag-arturo-mora-rioja","tag-bernard-maseli","tag-bobby-sparks","tag-cd","tag-dean-brown","tag-dennis-chambers","tag-doug-webb","tag-gerry-etkins","tag-grabaciones","tag-hadrien-feraud","tag-jazz","tag-jazz-en-espana","tag-jazz-en-espanol","tag-jimmy-earl","tag-joey-de-leon","tag-kikr-whalum","tag-marvin-smitty-smith","tag-moosicus","tag-rene-camacho","tag-schuyler-deale","tag-toma-jazz","tag-tomajazz","tag-tomajazz-toma-jazz"],"jetpack_featured_media_url":"","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":1198,"url":"https:\/\/tomajazz.com\/web\/dean-brown-dennis-chambers-will-lee-dbiii-live-at-the-cotton-club-tokyo-cotton-club-2008\/","url_meta":{"origin":7415,"position":0},"title":"Dean Brown, Dennis Chambers &amp; Will Lee &#8211; DBIII Live At The Cotton Club Tokyo (Cotton Club, 2008)","author":"Autor1","date":"17 mayo, 2011","format":false,"excerpt":"M\u00e1s roquero que funky en este caso, el guitarrista Dean Brown nos presenta a su power trio de lujo en esta grabaci\u00f3n registrada en directo en el Cotton Club de Tokio. 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Actuaron Hiromi, Adam O\u2019Farrill, Hadrien Feraud, Gene Coye","src":"https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2024\/09\/destacada-10-Hrms-Sncwndr-by-Joan-Cortes-05jll24-VJzz-Pc-Jm-Vlfrn-copia.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2024\/09\/destacada-10-Hrms-Sncwndr-by-Joan-Cortes-05jll24-VJzz-Pc-Jm-Vlfrn-copia.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2024\/09\/destacada-10-Hrms-Sncwndr-by-Joan-Cortes-05jll24-VJzz-Pc-Jm-Vlfrn-copia.jpg?resize=525%2C300&ssl=1 1.5x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/posts\/7415","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/comments?post=7415"}],"version-history":[{"count":2,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/posts\/7415\/revisions"}],"predecessor-version":[{"id":7475,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/posts\/7415\/revisions\/7475"}],"wp:attachment":[{"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/media?parent=7415"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/categories?post=7415"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/tags?post=7415"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}